tted to the motor centers, and that these send out the
appropriate motor impulses.

[Note 9: In this connection it is advisable to point out a
difference between the meanings attached to the word "control" in
psychology and in Vocal Science. The psychologist classes habitual
movements as either automatic or controlled. Automatic movements are
purely reflex; the individual does not consciously decide whether they
shall be performed or not. Psychologically considered, the _control_ of
a movement is simply the conscious volitional decision whether the
movement shall be performed. To adopt the language of Psychology, we
should speak of _voice management_, and of _breath regulation_, instead
of vocal control, breath control, etc. In the following chapters the
accepted psychological usage of the word "control" will so far as
possible be adopted.]

Turning now to the muscular adjustments of the vocal organs, these
adjustments are seen to be independent of conscious guidance. When a
tone is mentally conceived the vocal organs adjust themselves, in
response to some mysterious guidance, for the production of the tone.
The vocal cords assume the appropriate degree of tension according to
the pitch of the tone to be sung. Both the quality of the tone and the
vowel are determined by the combined adjustments of the laryngeal
muscles and of the muscles which fix the shape and size of the resonance
cavities. The power of the tone is regulated by the force of the breath
blast; for each degree of power some special adjustment of the vocal
cords is required.

All these adjustments are executed as one concrete and individual act in
response to the volitional impulse contained in the mental conception of
the tone. The tone is conceived as a concrete whole. It is not normally
broken up mentally into its four aspects of pitch, quality, vowel, and
power. True, each one of these four characteristics of the tone may be
separately considered by the singer. So also, to a certain extent, may
the adjustments of the vocal organs be performed with special reference
to one or the other characteristic of the tone. But in every case the
muscular contractions are performed without direct conscious guidance.
Whatever be the character of the tone mentally demanded, the vocal
organs instantly adjust themselves to produce the tone.

What is meant by saying that the muscular contractions are performed
without conscious guidance? Does this mean that the sin